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The Necessity of TheaterThe Art of Watching and Being Watched$
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Paul Woodruff

Print publication date: 2008

Print ISBN-13: 9780195332001

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195332001.001.0001

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Empathy

Empathy

Chapter:
(p.165) NINE Empathy
Source:
The Necessity of Theater
Author(s):

Paul Woodruff (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195332001.003.0011

Good audiences bring a capacity for empathy to theater. “Empathy” is used for a variety of emotional responses to others, some of which are goals of the art of theater more than others. Some responses that have been called “empathy” are not compatible with understanding. Tonal sympathy is analogous to the sympathetic vibration of one violin string with another, and this is independent of understanding. Tonal sympathy, identification, and related responses tend to undermine the ability of an audience to watch carefully what is presented to them. Bertolt Brecht therefore argued for an epic model of theater that did not aim to generate empathy at all. But cognitive empathy supports the art of theater because it finds human action worth watching, and this kind of empathy requires understanding.

Keywords:   empathy, Bertolt Brecht, identification, tonal sympathy, cognitive empathy

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